Monologues, Scenes, Reviews, Commentaries, One-Act and Full-Length Plays, Interviews, and Events from the World of Theatre

(Michael Paulson’s article appeared in The New York Times, 5/23; via Pam Green.)

Musicals about the aftermaths of a teenage suicide and a terror attack proved unlikely sensations. Star turns by Bette Midler, Josh Groban, Jake Gyllenhaal and Glenn Close added sizzle. And, led by “Hamilton” and “Hello, Dolly!,” the hottest shows started charging once unthinkably high prices for the best seats.

The Broadway season that ended on Sunday was one for the record books. Box-office grosses, which have been climbing since 2013, rose 5.5 percent, to $1.449 billion, a new high, according to figures released on Tuesday by the Broadway League, an industry trade group.

The growth, though, was fueled not by attendance, but by ticket cost. Producers, perfecting a strategy called dynamic pricing, used increasingly sophisticated analytics to adjust ticket prices to reflect varying demand on different days of the week and for different sections of a theater.